Tsao TRIODE VARIATIONS

TSAO

Triode Variations for Large Ensemble Score

MING TSAO

Trio Variations

for Large Ensemble (2019/20)

POD

Commissioned by Ensemble Musikfabrik and Kunststiftung NRW

First performance:

28 May 2022, WDR Funkhaus am Wallrafplatz, Köln Ensemble Musikfabrik, conducted by Emilio Pomarico

Instrumentation

Flute – also Piccolo (sounding one octave higher than written)

Oboe

Bass clarinet in Bb

Clarinet in Bb – also Contrabass clarinet in Bb

Bassoon – also Contrabassoon sounding one octave lower than written

Horn in F – with wa-wa, straight, plunger and cup mutes

Trumpet in C – with wa-wa, straight, plunger and cup mutes

Trombone – with wa-wa, straight and cup mutes

Tuba – with straight mute

Percussion

Percussion 1 (2 Players)

3 Timpani ? 1 ì 2 ì 3 œ œ œ œ œ œ

Full set of Crotales (sounding two octaves higher than written) & › œ œ

Glockenspiel (sounding two octaves higher than written) & › œ œ

Vibraphone – With fully functioning motor. The pedals should be depressed throughout the piece with a weight applied to the pedal.

Metal wind chimes

Large suspended Cymbal

Snare drum

3 low pitched gongs

2 Tom-toms – Medium and Large

Large Bass Drum

Tambourine

Triangle

2 Bows

Chinese Cymbal

Superball mallet

Percussion 2 (2 Players)

2 Timpani ? 1 ì 2 œ œ œ œ

Vibraphone – With fully functioning motor. The pedals should be depressed throughout the piece with a weight applied to the pedal.

Marimba ? & œ œ

2 Bongos – High and Low

Large Tam-tam

Tubular Bells & œ œ – The pedal can be similarly prepared as in the vibraphone.

Large suspended Cymbal (different in sound from Percussion 1)

Full set of Crotales (sounding two octaves higher than written) & › œ œ

Large Temple bowl

Flexatone & œ œ

Wooden wind chimes

2 Bows

Chinese Cymbal

Maraca

Superball mallet

Metal rod

Reibestock (threaded wooden dowel) ? 1 2 ì 3 œ # œ bœ

Grand Piano – with sostenuto pedal, superball mallet, plasic plectrum, metal beater and shot glass

Electric Organ – with volume pedal, tremolo with three speeds, detuning +/- a quarter-tone and a semitone œ ? ‹ & ‹ œ

Celesta (sounding one octave higher than written)

Electric Guitar – with slide, e-bow, threaded metal rod, volume pedal, wa-wa pedal, analog distortion, analog tremolo and analog delay. It is important to use analog instead of digital effects.

Electric guitar scordatura

The electric guitar is notated in standard tuning.

Violin 1

Violin 2

Viola

Violoncello

Double Bass – with low C extension (sounding one octave lower than written)

The score is in C – Exceptions are the usual transposing instruments of Piccolo, Contrabassoon, Celesta, Crotales, Glockenspiel and Double Bass.

The electric guitar is written as if the strings are in standard tuning.

Performance notes

Performance notes General

Performance notes

1/4-tone

1/4-tone flat

Quarter-tones: gradual transition from one state to another.

Durations: dotted half note

half note

Quarter-tones: gradual transition from one state to another.

quarter tone accidentals

1/4-tone sharp 3/4-tone sharp either an eighth-tone sharp or the natural eleventh harmonic (context will determine) either an eighth-tone flat or the natural seventh harmonic (context will determine)

either an eighth-tone sharp or the natural eleventh harmonic (depending on context)

1/4-tone flat 1/4-tone sharp 3/4-tone sharp either an eighth-tone sharp or the natural eleventh harmonic (context will determine) either an eighth-tone flat or the natural seventh harmonic (context will determine)

half note Durations: dotted half note

half note

Durations: dotted half note

either an eighth-tone flat or the natural seventh harmonic (depending on context)

For longer durations whilst using special noteheads, circles around noteheads are used for durations equal to or longer than a half-note.

For longer durations whilst using special noteheads, circles around noteheads are used for durations equal to or longer than a half-note. necessarily the sounding result.

refer to the amount of force or effort required to produce a sound and not of a glissando are not to be articulated independently. from one state to another. longer durations whilst using special noteheads, circles around noteheads are used for durations equal to or longer than a half-note.

only fingering

and Trombone:

Quarter-tones: gradual transition from one state to another.

For longer durations whilst using special noteheads, circles around noteheads are used for durations equal to or longer than a half-note.

Dynamics in quotations, “ ", refer to the amount of force or effort required to produce a sound and not Glissandi: notes in parentheses of a glissando are not to be articulated independently.

Quarter-tones: gradual transition from one state to another.

necessarily the sounding result.

gradual transition from one state to another.

Dynamics in quotations, “ ", refer to the amount of force or effort required to produce a sound and not Glissandi: notes in parentheses of a glissando are not to be articulated independently.

necessarily the sounding result.

Dynamics in quotations, “ ", refer to the amount of force or effort required to produce a sound and not Glissandi: notes in parentheses of a glissando are not to be articulated independently.

Flute and Clarinets: with some pitch mostly breath through indicated breath only fingering

Tempi

1/2 breath 1/2 pitch

breath sound with varying degrees of colour

up stroke of its own accord

1/4-tone sharp 3/4-tone sharp either an eighth-tone sharp or the natural eleventh harmonic (context will determine) either an eighth-tone flat or the natural seventh harmonic (context will determine) Piano Bar 462 and 676 rub or tap vibraphone mallets or snare sticks together on Timp. (hold stick

“ f ” dynamics in quotations refer to the amount of force or effort required to produce a sound and not necessarily the sounding result.

necessarily the sounding result.

Glissandi – notes in parentheses of a glissando are not to be articulated independently.

Oboe:

1/2 breath 1/2 pitch

Flute and Clarinets: with some pitch mostly breath through indicated breath only fingering

indicated fingering air noise through Trumpet: through indicated

jet whistle (flute only) where air noise is present weak fingering

click slap tongue jet whistle (flute only) where air noise is present

Oboe: natural harmonic

click slap tongue jet whistle (flute only) where air noise is present weak fingering

All: exhale slap tongue

indicated fingering air noise through Trumpet: Woodwind

=

Flute and Clarinets: with some pitch mostly breath through indicated breath only fingering key click slap tongue jet whistle (flute only) where air noise is present

Horn and Trombone:

click slap tongue jet whistle (flute only) where air noise is present

There are five tempi used throughout this work, q = 76, 95, 114 (or 57), 133 (or 67), 171 (or 86). Each tempo relates to another proportionally, corresponding to the numbers 4, 5, 6, 7, 9, so that each measure is related to another through the division of a whole note into 4, 5, 6, 7, 9 parts.

Horn and Trombone:

breath sound with varying degrees of colour Horn and Trombone: brightest indicated fingering air noise through Trumpet:

breath sound with varying degrees of colour

indicated fingering air noise through Trumpet:

For example: 4 4 (or 4 8 or 4 16 ) 4 5 (or 4 10 or 4 20 ) 4 6 (or 4 12 or 4 24 ) 4 7 (or 4 14 or 4 28 ) 4 9 (or 4 18 ) (q = 76) (q = 95) (q = 114) (q = 133) (q = 171)

Fermatas

sound die bar slide across all strings at the position indicated on the bottom or top string slow arpeggiation across all strings

across all strings at the position indicated on the bottom or top string slow arpeggiation across all strings

flat or the natural seventh harmonic (context will determine) Piano Bar 462 and 676 rub or tap vibraphone mallets or snare sticks together on Timp. (hold stick towards edge of Timp.) top bottom

Bar 462 and 676 rub or tap vibraphone mallets or snare sticks together on Timp. (hold stick towards edge of Timp.) top bottom for longer durations whilst using special noteheads, circles around noteheads are used for durations equal to or longer than a half-note.

slide across all strings at the position indicated on the bottom or top string

Bar 462 and 676 rub or tap vibraphone mallets or snare sticks together on Timp. (hold stick towards edge of Timp.)

In this work, these sudden shifts in tempo are notated with tempo changes rather than changes in meter. However, it is important to execute the tempo changes as a sudden shift in “gears” without any accelerandi or ritardandi while keeping in mind the proportional relationships between 4:5:6:7:9.

finger percussion without muting strings(no R.H. attack, simply touch the strings at the indicated position with the L.H.) R

Throughout the work there occasionally appear fermatas that should indicate to the conductor very brief, momentary pauses in the tempi. They do not indicate pauses in sound however, and the sound should continue as if suspended by a very brief fermata.

to ordinary bowing technique and position (left-hand)

return to ordinary bowing technique and position (left-hand) (R.H. = right-hand)

/ unmute strings shaded harmonic this requires only slightly more left-hand

return to ordinary bowing technique and position (left-hand) (R.H. = right-hand) mute / unmute strings shaded harmonic this requires only slightly more left-hand finger pressure than is normally required for the execution of a hatural harmonic. Only a hint of the fingered pitch should be perceptible. In rapid passages slightly more finger pressure can be used, coupled with flautando bowing, than in the passages with shaded harmonic glissandi, which should be ghost-like and very delicately played. (This is to ensure the articulation of each note in the more rapid passages.)

than is normally required for the execution of a hatural

Only

hint of the fingered pitch should be perceptible. In rapid passages slightly more finger pressure can be used, coupled with flautando bowing,

mute / unmute strings shaded harmonic this requires only slightly more left-hand finger pressure than is normally required for the execution of a hatural harmonic. Only a hint of the fingered pitch should be perceptible. In rapid passages slightly more finger pressure can be used, coupled with flautando bowing, than in the passages with shaded harmonic glissandi, which should be ghost-like and very delicately played. (This is to ensure the articulation of each note in the more rapid passages.)

/ unmute strings shaded harmonic this requires only slightly more left-hand finger pressure than is normally required for the execution of a hatural harmonic. Only a hint of the fingered pitch should be perceptible. In rapid passages slightly more finger pressure can be used, coupled with flautando bowing, than in the passages with shaded harmonic glissandi, which should be ghost-like and very delicately played. (This is to ensure the articulation of each note in the more rapid passages.)

right-hand)

Strings

Performance notes

1/4-tone flat 1/4-tone sharp

Durations:

(cello) arco (withmetalrod)

Multiphonic – Fingering is provided in the individual parts. In general, the clarinets and oboe/english horn are free to choose their own fingerings, provided that there is variation in the fingerings and there is a large amount of noise content to the resulting sound (producing a “scream-like” effect) while respecting the notated dynamics.

Flute – The flute multiphonics come from the book “The Techniques of Flute Playing” by Carine Levine (Bärenreiter, 2002)

Oboe – The oboe multiphonics come from the book “The Techniques of Oboe Playing” by Peter Veale (Bärenreiter, 1994) In each instance, the full multiphonic should be produced with the appropriate air pressure.

half note

Durations: dotted half note

Quarter-tones: gradual transition from one state to another.

Clarinets – Clarinet fingerings refer to the German system. The multiphonics for Clarinet in Bb come from the book “Multiphonics für Klarinette mit deutschem System” by Gerhard Krassnitzer (Edition Ebenos, 2002). The multiphonics for Bass clarinet in Bb come from the book “The Bass Clarinet: a personal history” by Harry Sparnaay (Periferia Sheet Music, 2010).

For longer durations whilst using special noteheads, circles around noteheads are used for durations equal to or longer than a half-note.

3/4-tone sharp either an eighth-tone sharp or the natural eleventh harmonic (context will determine) either an eighth-tone flat or the natural seventh harmonic (context will determine)

Quarter-tones: gradual transition from one state to another.

Dynamics in quotations, “ ", refer to the amount of force or effort required to produce a sound and not

For longer durations whilst using special noteheads, circles around noteheads are used for durations equal to or longer than a half-note.

Glissandi: notes in parentheses of a glissando are not to be articulated independently.

Flute and Clarinets

transition from one state to another.

1/2 breath

1/2 pitch

indicated

inhale

Dynamics in quotations, “ ", refer to the amount of force or effort required to produce a sound and not

Glissandi: notes in parentheses of a glissando are not to be articulated independently.

half breath, half pitch

", refer to the amount of force or effort required to produce a sound and not in parentheses of a glissando are not to be articulated independently.

(cello) arco (withmetalrod)

For longer durations whilst using special noteheads, circles around noteheads are used for durations equal to or longer than a half-note. necessarily the sounding result.

necessarily the sounding result.

Flute and Clarinets: with some pitch mostly breath through indicated breath only fingering key click slap

necessarily the sounding result.

Flute and Clarinets: with some pitch mostly breath through indicated breath only fingering key click slap tongue jet whistle (flute only) where air noise is present

kkkkkkkkkkkkkkk

All: exhale slap tongue darkest breath sound with varying degrees of colour Horn and Trombone: brightest indicated fingering air noise through Trumpet:

slap tongue darkest breath sound with varying degrees of colour

Horn and Trombone: brightest indicated fingering air noise through Trumpet:

)

Bassoon – The multiphonics for the bassoon come from the book “The Techniques of Bassoon Playing” by Pascal Gallois (Bärenreiter, 2009). Where the multiphonic numbering is preceeded by an S., the multiphonics come from “Contemporary Techniques for the Bassoon: Multiphonics” by Jamie Leigh Sampson (ADJ • ective New Music, 2014).

of

6 1 () 1 6 ()

pizz. with plectrum (table-top guitars) down stroke up stroke of its own

Flute ! œ tongue-ram (sounding a major seventh lower)

strum across open strings ( ) attackless harmonics

1/4-tone flat 1/4-tone sharp 3/4-tone sharp either an eighth-tone sharp or the natural eleventh harmonic (context will determine) either an eighth-tone flat or the natural seventh harmonic (context will determine) Piano

half note

gradual transition from normal playing to flutter tongue

3/4-tone sharp either an eighth-tone sharp or the natural eleventh harmonic (context will determine) either an eighth-tone flat or the natural seventh harmonic (context will determine) Piano Bar 462 and 676

Bar 462 and 676

For longer durations whilst using special noteheads, circles around noteheads are used for durations equal to or longer than a half-note. necessarily the sounding result. Performance notes

strum across open strings

Strings

strings(no R.H. attack, simply touch the strings at the indicated position with the L.H.)

L.H. finger percussion without muting strings(no R.H. attack, simply touch the strings at the indicated position with the L.H.) R 6 1 () 1 6 ()

pizz.

Durations: dotted half note

Quarter-tones: gradual transition from one state to another.

ord.

1/4-tone flat 1/4-tone sharp 3/4-tone sharp either an eighth-tone sharp or the natural eleventh harmonic (context will determine) either an eighth-tone flat or the natural seventh harmonic (context will determine)

kkkkkkkkkkkkkkk

) plectrum guitars) down stroke up stroke of its own accord let sound die bar slide across all strings at the position indicated on the bottom or top string slow arpeggiation across all strings

(cello) arco (withmetalrod) ?

attackless harmonics

left hand finger percussion audible release of strings

Oboe and Bassoon

left hand finger percussion audible release of strings

return to ordinary bowing technique and position (left-hand) (R.H. = right-hand)

ord.

Bar 462 and 676

pizz. with plectrum (table-top guitars) down stroke up stroke of its own accord let sound die bar slide across all strings at the position indicated on the bottom or top string slow arpeggiation across all strings

rub or tap vibraphone mallets or snare sticks together on Timp. (hold stick towards edge of Timp.)

left hand finger percussion audible release of strings

clusters:

1/2 breath

L.H. finger percussion without muting strings(no R.H. attack, simply touch the strings at the indicated position with the L.H.) R

1/2 pitch

Celesta clusters: W B white notesnotes black chromatic

rub or tap vibraphone mallets or snare sticks together on Timp. (hold stick towards edge of Timp.)

Celesta clusters: W B white notesnotes black chromatic

Dynamics in quotations, “ ", refer to the amount of force or effort required to produce a sound and not Glissandi: notes in parentheses of a glissando are not to be articulated independently.

G lips enclose the mouthpiece while pronouncing “sch” into the instrument. Produce a “dirty” air sound. “aeolian sounds” – blow air over the embouchure hole to produce a wind like sound. Harmonic whistle tones produced by covering the entire mouthpiece with the mouth.

nail pizz. snap pizz. L.H. pizz.

Flute and Clarinets: with some pitch mostly breath through indicated breath only fingering

ord. return to ordinary bowing technique and position (left-hand) (R.H. = right-hand)

“ghost sounds”, weak fingering where air noise is present.

"sch" O “sch” wind sounds

Oboe, Clarinet and Bassoon

gentle overpressure bowing bring out pitch "crunch" hard over-pressure bowing slow bowing with overpressure

half note

W B white notesnotes black chromatic

breath multiphonic (produce in throat) multiphonic

spoken ghostly glissandi:

mute / unmute strings shaded harmonic this requires only slightly more left-hand finger pressure than is normally required for the execution of a hatural harmonic. Only a hint of the fingered pitch should be perceptible. In rapid passages slightly more finger pressure can be used, coupled with flautando bowing, than in the passages with shaded harmonic glissandi, which should be ghost-like and very delicately played. (This is to ensure the articulation of each note in the more rapid passages.)

Action clef: L.H. finger percussion

Quarter-tones: gradual transition from one state to another.

mute / unmute strings shaded harmonic this requires only slightly more left-hand finger pressure than is normally required for the execution of a hatural harmonic. Only a hint of the fingered pitch should be perceptible. In rapid passages slightly more finger pressure can be used, coupled with flautando bowing, than in the passages with shaded harmonic glissandi, which should be ghost-like and very delicately played. (This is to ensure the articulation of each note in the more rapid passages.)

an eighth-tone

All: exhale slap tongue darkest breath sound with varying degrees of colour Horn and Trombone: brightest indicated fingering air noise through Trumpet:

Action clef:

must be performed in a completely non-expressive manner and, attackless harmonics

*) the sprechstimme should be performed (roughly 80% speaking quality) with more speaking than singing. key−click

end of fingerboard sul tasto molto sul tasto gentle overpressure bowing bring out pitch "crunch" hard over-pressure bowing slow bowing with overpressure

end of fingerboard sul tasto molto sul tasto

or the natural seventh harmonic (context will determine)

Action clef:

mute / unmute strings shaded harmonic this requires only slightly more left-hand finger pressure than is normally required for the execution of a hatural harmonic. Only a hint of the fingered pitch should be perceptible. In rapid passages slightly more finger pressure can be used, coupled with flautando bowing, than in the passages with shaded harmonic glissandi, which should be ghost-like and very delicately played. (This is to ensure the articulation of each note in the more rapid passages.)

Durations: dotted half note For longer durations whilst using special noteheads, circles around noteheads are used for durations equal to or longer than a half-note. necessarily the sounding result.

end of fingerboard sul tasto molto sul tasto

breathy pitch breath only multiphonic (produce in throat) multiphonic breathy flutter tongue sprechstimme sprechstimme breathy

breathy pitch breath only multiphonic (produce in throat) multiphonic breathy flutter tongue sprechstimme sprechstimme breathy (Voice)

breathy flutter tongue sprechstimme sprechstimme breathy

Multiphonics – each multiphonic is accompanied by its lowest tone plus a number which references its fingering. When a multiphonic appears without a specific tone or fingering, and notated with the letter M as in the case with the Contrabass clarinet and Contrabassoon, then find a multiphonic appropriate to the dynamic context.

own accord let sound die bar slide across all strings at the position indicated on the bottom or top string

Dynamics in quotations, “ ", refer to the amount of force or effort required to produce a sound and not Glissandi: notes in parentheses of a glissando are not to be articulated independently.

*) the sprechstimme should be performed (roughly 80% speaking quality) with more speaking than singing.

Bar 462 and 676 rub or tap vibraphone mallets or snare sticks together on Timp. (hold stick towards edge of Timp.)

sing while inhaling **) sing while exhaling **) produce a “damaged” sound that is slightly unstable and fragile. It should sound distinctly different than singing while exhaling.

spoken ghostly glissandi: a mixture of pitch and air with a slightly unpredictable quality to the glissandi; do not articulate the notes in parentheses

a mixture of pitch and air with a slightly unpredictable quality to the glissandi; do not articulate the notes in parentheses

Note: All sprechstimme and speaking must be performed in a completely non-expressive manner and,

The simple speaking rhythms indicate pacing, and can be deviated from slightly, as to not soundmechanical (a kind of "rhythmic sprechstimme" where the rhythm is approximated) sing while inhaling **) sing while exhaling **) produce a “damaged” sound that is slightly unstable and fragile. It should sound distinctly different than singing while exhaling.

Strings

indicated fingering while sweeping through higher partials according to the graphics.

sing while inhaling **) sing while exhaling **) produce a “damaged” sound that is slightly unstable and fragile. It should sound distinctly different than singing while exhaling.

sprechstimme and speaking must be performed in a completely non-expressive manner and,

All english texts found in the libretto should be spoken as if an actor/actresswere reciting them.

ghostly glissandi: a mixture of pitch and air with a slightly unpredictable quality to the glissandi; do not articulate the notes in parentheses

texts found in the libretto should be spoken as if an actor/actresswere reciting them. *) *) the sprechstimme should be performed (roughly 80% speaking quality) with more speaking than singing. breath through indicated fingering > pizz

pizz. snap pizz. L.H. pizz. ord. return to ordinary bowing technique and position (left-hand) (R.H. = right-hand)

gentle overpressure bowing bring out pitch "crunch" hard over-pressure bowing slow bowing with overpressure at the same time in a non-mechanical manner. indicate pacing, and can be deviated from slightly, as to not soundmechanical (a kind of "rhythmic sprechstimme" where the rhythm is approximated)

libretto should be spoken as if an actor/actresswere reciting them.

at the same time in a non-mechanical manner.

at the same time in a non-mechanical manner. speaking rhythms indicate pacing, and can be deviated from slightly, as to not soundmechanical (a kind of "rhythmic sprechstimme" where the rhythm is approximated)

462 and 676

¿ Apply air to the sound so that the sound becomes unfocused and distorted.

Action clef: L.H. finger percussion without muting strings(no R.H. attack, simply touch the strings at the indicated position with the L.H.)

gentle overpressure bowing bring out pitch "crunch" hard over-pressure bowing slow bowing with overpressure

mute / unmute strings shaded harmonic this requires only slightly more left-hand finger pressure than is normally required for the execution of a hatural harmonic. Only a hint of the fingered pitch should be perceptible. In rapid passages slightly more finger pressure can be used, coupled with flautando bowing, than in the passages with shaded harmonic glissandi, which should be ghost-like and very delicately played. (This is to ensure the articulation of each note in the more rapid passages.) end of fingerboard

nail pizz. snap pizz. L.H. pizz.

return to ordinary bowing technique and position (left-hand) (R.H. = right-hand)

Celesta

pizz. L.H.

split ¾ The fundamental is given and the performer is asked to execute a more exact splitting of the tone with the indicated partials above. The effect should be a rhythmically “beating” (or pulsating), unstable sound.

con sord wa-wa mute o + o Gradual or sudden transition from open to closed position. Occasionally precise rhythms are notated for the opening and closing of the mute.

?

con sord. straight mute (unless another mute is specified)

harm

œ œ harmonic glissando

uuuuuuuuuu uuuuuuuuuu uuuuuuuuuu uuuuuuuuuu uuuuuuuuuu uuuuuuuuuu

notes in parentheses of a glissando are not to be articulated independently. Quarter-tones: gradual transition from one state to another.

Emphasize overtones on the given fundamental by forming the mouth with different vowel sounds. The result should be a continuous filtering of the fundamental sound

uuuuuuuuuu uuuuuuuuuu uuuuuuuuuu uuuuuuuuuu uuuuuuuuuu

either an eighth-tone sharp or the natural eleventh harmonic (context will determine) either an eighth-tone flat or the natural seventh harmonic (context will determine)

For longer durations whilst using special noteheads, circles around noteheads are used for durations equal to or longer than a half-note.

Trumpet & ‚ air noise through indicated fingering

superball

Trombone &

superball

quotations, “ ", refer to the amount of force or effort required to produce a sound and not

necessarily the sounding result.

Maintain the glissandi from one partial to another while the slide continuously moves.

æ æ ) “Horse” flutter – place mouthpiece inside the mouth and execute a flutter-tongue air sound.

through indicated

Horn,

Trombone and Tuba

?

tongue darkest breath sound with varying degrees of colour

whistle (flute only) where air noise is present

Horn and Trombone: brightest indicated fingering air noise through Trumpet:

Breath sound with varying degrees of colour.

Bar 462 and 676

Percussion

with plectrum (table-top guitars) down stroke up stroke of its own accord let sound die bar slide across all strings at the position indicated on the bottom or top string slow arpeggiation across all strings

uuuuuuuuuu uuuuuuuuuu uuuuuuuuuu uuuuuuuuuu uuuuuuuuuu uuuuuuuuuu

tip → shaft → tip shaft

superball

Rub snare sticks together on timpani (hold sticks towards the edge of the timpani), sometimes moving the stick from the edge of the timpani to the center and vice-versa, but mostly holding the bottom stick toward the rim of the timpani where it is most resonant.

rub or tap vibraphone mallets or snare sticks together on Timp. (hold stick towards edge of Timp.)

Tap along the belly of large Timpani with soft mallet to effect a kind of steel drum timbre.

left hand finger percussion audible release of strings Celesta clusters: W B white notesnotes black chromatic nail

(R.H.

L.H. pizz. ord. return to ordinary bowing technique and position

Rapidly rub wooden drumstick on rim of timpani, usually moving from shaft to tip of drumstick.

slowly rub superball mallet along head of bass drum / large timpani / tam-tam / gong in order to produce a low, rumbling tone.

Rub a metal rod against the edge of the tam-tam, often moving the rod from shaft to tip of the rod.

right-hand) mute / unmute strings shaded harmonic this requires only slightly more left-hand finger pressure than is normally required for the execution of a hatural harmonic. Only a hint of the fingered pitch should be perceptible. In rapid passages slightly more finger pressure can be used, coupled with flautando bowing, than in the passages with shaded harmonic glissandi, which should be ghost-like and very delicately played. (This is to ensure the articulation of each note in the more rapid passages.)

¿ ≈ After striking the Chinese cymbal, rapidly rotate it back and forth to create a tremolo effect.

All glissandi on the vibraphone, glockenspiel and crotales should be executed with soft mallets.

Vibraphone

gentle overpressure bowing bring out pitch "crunch" hard over-pressure bowing slow bowing with overpressure

Marimba &

breath only multiphonic (produce in throat) multiphonic breathy flutter tongue sprechstimme sprechstimme breathy spoken ghostly glissandi: a mixture of pitch and air with a slightly unpredictable quality to the glissandi; do not articulate the notes in parentheses Action clef: L.H. finger percussion without muting strings(no R.H. attack, simply touch the strings at the indicated position with the L.H.)

Keep the pedals of both vibraphones depressed throughout the piece with a weight applied. The same could also be done with the pedal for the tubular bells.

end of fingerboard sul tasto molto sul tasto

sing while inhaling **) sing while exhaling **) produce a “damaged” sound that is slightly unstable and fragile. It should sound distinctly different than singing while exhaling. breathy

at the same time in a non-mechanical manner.

speaking rhythms indicate pacing, and can be deviated from slightly, as to not soundmechanical (a kind of "rhythmic sprechstimme" where the rhythm is approximated)

actor/actresswere reciting them.

(left-hand)

=

c

Moving the bow along the indicated strings in the indicated rhythm producing a white noise “wiping” effect.

Rapid rotation of the bow while drawing the bow across the strings in the normal manner.

Continue glissing up all four strings while the bow arpeggiated across the strings. Ö exaggerated bow pressure

Dense shake of the bow after striking the strings with the bow hair. Legno gett. is the identical action with the wood of the bow.

bouncing of the bow on the indicated strings with its own weight using the bow hair. c.l. balz. is the identical action with the wood of the bow usually executed with percussive force.

Rapidly move the bow from ordinario position to molto sul pont.

Decoupling (bars 221–243 and 502–507)

The bow moves independently of the left hand. Dynamics refer to the degree of effort of the right hand bow motion. The top line refers to a change in bow direction, where occasionally the direction ( ≥ ≤ ) is indicated.

The bow moves independently from the change of string and left hand fingering. In this example, slurring between strings will occur between changes of bow direction, and left hand pitches will be repeated (as tremolo) when changes in bow direction occur over a single stopped pitch, of pitches in the left hand. When the stems of the note values passes through both upper staves, then the change of bow direction is together with the change of string. The overall effect of the decoupling should be an unstable sound that projects an inner “brokenness” filled with breaks, stops and an overall “unpolished” quality.

Move the bow back and forth along the string from sul tasto to sul ponticello in such a way as to draw out the harmonic spectrum of the pitch while keeping the low tone sounding throughout.

Satz und Layout: Notengrafik Berlin

Triode Variations

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Vibraphone

continue

irregularly fluctuate mouth cavity to affect timbre of sound

Postlude

Edition Peters

For more than 200 years, Edition Peters has been synonymous with excellence in classical music publishing. Established in 1800 with the keyboard works of J. S. Bach, by 1802 the company had acquired Beethoven’s First Symphony. In the years following, an active publishing policy enabled the company to expand its catalogue with new works by composers such as Brahms, Grieg and Liszt, followed in the 20th century by Richard Strauss, Arnold Schoenberg and John Cage.

Today, with its offices in Leipzig, London and New York publishing the work of living composers from around the world, Edition Peters maintains its role as a champion of new music. At the same time, the company’s historic and educational catalogues continue to be developed with awardwinning critical and pedagogical editions.

Seit über 200 Jahren steht die Edition Peters für höchste Qualität im Bereich klassischer Notenausgaben. Gegründet im Jahr 1800, begann der Verlag seine Tätigkeit mit der Herausgabe von Bachs Musik für Tasteninstrumente. Schon 1802 kamen die Rechte an Beethovens erster Sinfonie hinzu. In der Folgezeit wuchs der Katalog um neue Werke von Komponisten wie Brahms, Grieg und Liszt sowie – im 20. Jahrhundert – Richard Strauss, Arnold Schönberg und John Cage.

Als Verleger zahlreicher zeitgenössischer Komponisten aus aller Welt ist die Edition Peters mit ihren Standorten Leipzig, London und New York auch weiterhin Anwalt neuer Musik. Zugleich wird das Verlagsprogramm im klassischen wie im pädagogischen Bereich kontinuierlich durch vielfach preisgekrönte Ausgaben erweitert.

The offices of Edition Peters in Talstraße, Leipzig Geschäftssitz der Edition Peters in der Leipziger Talstraße

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